I love how this line starts. It is such a cool sound over a dominant chord. If you’re thinking in terms of F7, he starts on the natural 13, the note B then moves to the b7 ,#9, 5th then root. Its a nice fourth pattern that can be used in lots of different ways. From the root he goes up to the b9 then plays with some chord tones of F7 and resolves to the 3rd of Bbmaj7 in the third measure.
This 3rd measure is pretty standard filled with chord tones, a triplet triad of Bb maj and finally resolving up to the 3rd of Gbmaj.
Probably the part of this is how he contrasts his more “out” stuff with traditional bebop language in the end. Try this style of contrasting in your own playing and practice playing the fourth pattern with extensions.